#oneaday Day 606: How evil is too evil?

Every new reveal from the Epstein files seems to bring with it brand new and exciting horrors to be disgusted by. It is unsurprising to see a veritable Who's Who of The Worst People In the World cropping up as having had contact with the rancid old paedo — and yet with every new name that bubbles up from the sewer, I find myself wondering, more and more, if anything is actually going to happen because of all this.

You'll forgive me for not having a lot of faith that these people will suffer any consequences whatsoever.

We live in a world where companies can just set fire to billions of dollars a year for a technology no-one wants, and where no amount of people going "please fuck off, please fuck off" will make them fuck off.

We live in a world where the President of the United States is demonstrably both an actual criminal and an incompetent fuckhead who shits himself in public, but nothing is done about either of these things — both of which, one would argue, should probably put him out of the running for being in charge of one of the most powerful nations on Earth.

We live in a world where the world's richest man proudly takes over what was once a good method of online communication and turns it into his own personal playground, where his antisemitic, CSAM-generating chatbot floods the world with disinformation and allows some truly vile examples of humanity to thrive. (At least, in this case, something is being attempted in response, though due to all of the other things I'm talking about today, I don't have much faith this will end in any other way than someone paying a lot of money to make it all just "go away".)

The world is dominated by rich people who are making existence for everyone except themselves objectively much, much worse. And I feel like they're going to get away with it. I know legal action takes time and money to come to fruition, and it's entirely possible that things are going on behind the scenes to bring some of these scumbags to some sort of justice, but I somehow doubt it at this point. I suspect what will happen is that some of them will get a slap on the wrist at most, and then maybe asked to pay some money that is a meaninglessly miniscule fraction of their total fortunes, and then we will all be expected to forget about everything.

As the quote frequently misattributed to Final Fantasy Tactics goes, "if the penalty for a crime is a fine, then that crime only exists for the lower class". It's true. If Elon Musk is made to pay even several million dollars by the French authorities for his CSAM-generating chatbot, it means nothing to him. Same for Donald Trump. Same for the myriad rich folks who engaged in barely literate email exchanges with Epstein about "partying" (and we know what that means, unfortunately) on his special paedo island, or how they were going to manipulate and fuck up the economy, politics, tolerance and inclusivity… the list goes on.

I'm open to being proved wrong on all this. But at the moment it feels like there simply isn't anyone to hold these rich fuckheads to account… aside from The People themselves. And, despite growing evidence that people in the States are willing to hit the streets when it really counts, I'm not sure The People have the motivation or the strength to be able to undo all this damage that's been done.

I hope one day we can look back on this period from a better place, and feel like we all learned something from it. After all, the world has recovered from terrible things before. But has anything ever really been quite like what we're dealing with right now…?

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

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#oneaday Day 605: Bob Mortimer's Pocket Meat

I got a copy of Bob Mortimer's autobiography, And Away… for Christmas, and just finished reading it last night (having started it… maybe last week sometime, I think?) — it's a really good read, and Bob's voice shines through clearly for the duration. Which is interesting, because he spends a lot of the book talking about how for much of his life and career, he has been exceedingly self-conscious and shy, feeling like he has never really been able to show his actual "self" without the support of others like Jim "Vic Reeves" Moir.

That said, his conclusion — that, after a heart bypass and some independent projects he did without the crutch of Moir to rely on, he was able to properly "find his voice", such as it were — is fitting, and certainly seems in keeping with how much we've seen him by himself over the course of the last decade or so, rather than being "…And Mortimer".

Mortimer's decision to not construct the book as a simple "this is what happened in my life in roughly chronological order" was a solid one. With the initial chapters using a scare over his heart health — and the worry that his heart issues might bring a career he had grown to love to a screeching halt — as a framing device, we get a series of fun snapshots of Mortimer's life, both past and present, and really feel like we're being included in the varied scenes. Mortimer often addresses the reader and encourages them to go and explore certain things for themselves — there are several YouTube videos whose comments sections now largely consist of "Bob Mortimer sent me" now — and the whole thing feels like you're having a story told to you, rather than a "celebrity" on a throne talking down to you, the great unwashed public.

Many folks will likely be familiar with Mortimer's notoriously hilarious appearances on the beloved panel show Would I Lie To You? — and, indeed, many of the stories he tells (and the names featured therein) throughout And Away… will be familiar to those who have heard him spin a tangled tale on the show. Pocket meat, Steve Bytheway, Garry "The Sniper's Dream" Cheeseman, "we do beg your pardon, we are in your garden"… they're all here, and Mortimer admits in a couple of chapters that he's making some of this stuff up. But with the way he tells these stories, I could quite easily believe everything he's written in the book, because his tales are not only memorable for their surreal edge, but also for the fact that he has clearly taken something worthwhile and meaningful away from each and every one of them.

It's particularly heartwarming to hear his tales of how first seeing Vic Reeves' Big Night Out helped him to come out of his shell somewhat, gradually becoming part of the act and growing in confidence as he did so. His description of reaching a certain age and not really having the energy to maintain friendships — and being satisfied with that — also resonated somewhat, although not because I feel like I'm there myself. On the contrary, as I've mentioned on quite a few occasions in the relatively recent past, I've been going through a period where I really do feel exceedingly lonely at times, but I had also become exceedingly weary of feeling like I was the only one putting an effort in. So I guess maybe I was there, kind of. Ah well. Either way, reading Mortimer's reflections on it made me feel… a little better, maybe? I don't know.

Anyway, without getting too maudlin, I found the book very enjoyable. By turns hilarious and relatable, it is a pleasure to read, and confirms what I'm sure many of us have always suspected: that Bob Mortimer is simply a thoroughly nice, hilariously funny man — and one who, finally, is at peace with and comfortable with the person he's always been.

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#oneaday Day 604: So many words

I've written two pieces over on MoeGamer today: one on Inkle's excellent TR-49, and another on Size Five Games' hilarious Earth Must Die. Please go read them, then buy both games, as they're both fabulous and I want to play more stuff from both developers.

It's now quarter to five in the afternoon (we got up late) and it's dark and miserable outside. I'm a bit hungry. One of the cats did a poo on the doormat this morning. We think it was a dirty protest informing us that it was time to empty the litter trays, so we did that.

Now I'm a bit tired. My plan for most of the rest of the evening is to have something nice for dinner (maybe a weekend "treat" of some description, since I have the calories for it and I've been good all week!) and then play Rosewater for the rest of the night. I am, if it were not already apparent, very much on an adventure game kick right now, and there are so many amazing ones that have come out recently that I have a veritable string of them to play.

I'm probably going to continue with my exploration of the Wolfenstein series after Rosewater though, then after that I'm going to try and cross both Hyrule Warriors: Age of Imprisonment and The Legend of Zelda: Tears of the Kingdom off my list. Then there's just Final Fantasy Tactics: The Ivalice Chronicles and Death end re;Quest Code Z to finish off and I've successfully recovered from my "oops, I started too many games at once" situation from the end of last year.

Back to work tomorrow, of course. We're going through an extremely busy, quite stressful time at the moment, but with any luck all the hard work everyone is putting in is going to result in some truly spectacular releases later in the year. It's going to be an amazing year for our company, all being well, and I'm excited at the part I've played in all this.

For now, though, I think I've earned a bit of rest and relaxation, so it's off to Western Vespuccia I go for the continuing adventures of Rosewater!

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#oneaday Day 603: Awesome minis painted quick

Today I've been doing something that I haven't done for probably 30 years or so: I have attempted to paint some miniatures. As I alluded to a while back, this is a field where "technology" (for want of a better word?) appears to have come on quite a bit in the years since I last tried it, and I was particularly interested in trying out something called "Speedpaint".

Speedpaint is a formulation of paint that, in contrast to the usual thick matt acrylics, is very thin and semi-transparent. You brush it all over a model and the nature of its formulation means that it works its ways into all the little nooks and crannies by itself and naturally darkens and lightens according to the undulations of the model. In other words, it goes darker when it gets into deep cracks, and creates natural highlights in elevated sections.

I was especially interested in trying out the "Speedpaint Markers", which combine the simplicity of Speedpaint with the straightforward, mess-free approach of using a pen rather than a brush and palette. And for the most part I'm very impressed with the Speedpaint Markers; they're a convenient and easy way to get some colour on to a model, and the Speedpaint within them works exactly how it's supposed to, making it easy to create convincing and realistic effects with just a single coat.

I've been painting some of the furniture from HeroQuest today, as these are fairly large pieces that are, for the most part, relatively straightforward to paint. And in doing so, both the strengths and the weaknesses of the Speedpaint Markers have become apparent.

They're great for covering large areas. Painting one of the door miniatures, the tomb, the tables and the stonework around the fireplace was simplicity itself. The paint did its thing and created some nice shadows and highlights with minimal fuss; I found that it needed just a little more than a single coat to look good, but it's still a very quick way to get something painted.

The weakness of the Markers is that although their tips are relatively fine, they're still a long shot from a proper detail brush, and as such it's difficult to paint very fine details with any great accuracy. This means that it's difficult to, for example, paint the books on the bookshelf miniature, or the little bits and pieces scattered around the alchemist's table.

Thus I have concluded that the best approach, for now, is to have both the Markers available for large, simple areas, and some more conventional brushes, paints and a palette around for more fine detail work. This means that I have spent considerably more on this little experiment than I perhaps initially intended — and part of me, the cynical part, suspects that this is how they "get" you — but will hopefully be able to do a much nicer job once I have some more appropriate bits and pieces.

I've enjoyed what I've tried, though. The results I've had with the Speedpaints today are considerably better than the cack-handed attempts with acrylics I did back when I was in my early teens and didn't really have the right brush for the job. In fact, in retrospect, it was not having the right brush for the job that put me off taking things any further; I got frustrated that I felt it was too difficult, and just sort of gave up.

After today's little experiment, I'm keen to have a proper crack at it though. It'd certainly look very cool to have at least some painted minis on the table the next time we play HeroQuest (which, all being well, will be next weekend).

So I guess I'm Someone Who Paints Miniatures now. I suspected that Someone was always inside me, what with the inherently nerdy nature of the surrounding hobby. I've just come to it a little… late, is all.

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#oneaday Day 602: A farewell to Cpt.Carnage

I received the sad news earlier today that a far-off friend of mine, Jeff, aka "Cpt.Carnage", passed away last night.

I don't really know how to process this, so I'm just going to start typing and see what happens.

Many moons ago, you may recall me talking about a little group called the Squadron of Shame that originated on the 1up.com forums. We were a group of people who eschewed the big hits of the day in favour of the overlooked and underappreciated; our collective name was inspired by the term "Pile of Shame", which we first heard discussed on the 1up Yours podcast.

For the unfamiliar, the Pile of Shame is the pile of "stuff" you have that you keep meaning to get around to, but never do. You can have a Pile of Shame of pretty much any form of media, and pretty much everyone has one these days; some refer to it as their "backlog". The concept behind the discussion on the podcast was that the participants would take a game that they felt had passed them by — in this case, Psychonauts by Double Fine — then play it through independently and come back later to discuss it.

That never actually happened on the 1up Yours podcast because everyone involved was much too busy to be able to devote any time to such a project. But a group of us on the "Radio" forums on 1up.com thought it was a great idea, so we ran with it instead, playing through Psychonauts together and discussing it on the forums. We quickly gained a reputation for lengthy, in-depth discussion, but the Radio boards were a good place for that sort of thing, since they were generally relatively quiet, and free of the general console fanboy wars that were going on in the more generic forums.

I'm honestly not entirely sure if Jeff was with us right from the beginning, because to be perfectly honest he's felt like a fixture for as long as I can remember. In that respect, I think it simply doesn't matter whether he was there from the start or not; fact is, he was a part of our little group. A precious friend. A valued contributor to our discussions. Part of something bigger than each of our own, individual selves.

After 1up.com went through its slow, agonising death, much of the Squad drifted apart for one reason or another. Many of us moved to Twitter (from the period before it was The Worst Place On The Internet — yes, believe it or not, there once was a time like that) and there were several attempts to build our own little communal spaces online through shared blogs and forums. We got together and did our own podcast. Some of us even managed to meet face-to-face — and yes, that includes me, despite the vast majority of the Squad being in the U.S. and Canada. On one occasion I was happy to meet Jeff, who was pretty much how I had imagined him. That's a good thing.

The 2010s were, generally speaking, a fairly dark period for me for all manner of reasons that are beyond the scope of what I want to talk about today, but the net result was that I lost touch with a lot of people for a good few years, including former Squadmates. But when I emerged from the other side of things and found that there was a small but dedicated little unit of the Squad still hanging out online, chatting and sharing war stories, it was enormously comforting — and a big part of that comfort came from the fact that I saw Jeff was still there. He had always been there, even if I hadn't.

Jeff was the sort of person I always enjoyed seeing in the chat — and, of course, on that one occasion we were actually in the same place. He always had a kind word, something to contribute or something to share that he thought we'd be interested in. He was someone that it was simply nice to have around; as I say, he had always felt like a fixture, in a good way.

It's shocking, upsetting and scary to think that he could be gone so suddenly. The world has lost a wonderful person while so many other complete shitbags continue to exist.

It's not fair. It's not fair on Jeff, it's not fair on the people he leaves behind. But I hope, wherever he is now, that he knows how much people cared for him, and how much people are going to miss him now that he's gone. And that whatever is next is a better, more peaceful existence than the world we live in right now.

Farewell, Jeff. Forever a Squaddie.

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#oneaday Day 601: January progress

So, January has been coming to a close. How are things going?

Not all that bad, really. The only thing I've been lax on for Things I Wanted to Achieve In January is piano practice. I've been so tired and achey of an evening that I just want to zombie out, and sitting with proper posture at the piano has been the last thing on my mind. I am starting to feel a bit better, though, particularly with good progress in other regards, so I will try reintroducing that to my "routine" shortly, along with some more exercise.

The most notable progress so far has been on weight loss. Since I started sticking properly to the calorie plan, I've lost 10 pounds. This is good! Of course, there is still a lot more to go, but it's a good start, and proof that what I'm doing is working.

What's particularly good about what I'm doing is that I feel like I've found a plan that offers a good balance between me not feeling like I'm starving myself — which can end up with me just wanting to binge, which is counterproductive — and still allowing the weight to come off. I know, realistically speaking, that I can't expect 10 pounds to fall off every two weeks — the first weeks following a new plan are always the "easiest" for some reason — but as long as the general trend skews downwards over the medium to long term, I will be satisfied.

And the nice thing is that I'm by no means depriving myself of Nice Things. I had some digestive biscuits yesterday! I had some Cheez-Its at lunchtime! I might have a bacon sandwich for breakfast tomorrow! The important thing, as is probably obvious to the vast majority of people who are not My Size, is moderation. Eating a measured, weighed-out portion of Cheez-Its and taking the calories into account? Fine. Getting a whole big bag of Cheez-Its and eating all of them in a single sitting because I have no self-control in that scenario? Not fine.

It's easy to feel like a supposed "portion" of something is stingy, but in actual fact it can be quite surprising how satisfying a "portion" of something can be. To return to the Cheez-Its, a "portion" is 30g, which is actually quite a generous helping of them, and certainly not depressingly unsatisfying. The only thing I've found myself exceeding the "recommended" portion size on is sultana bran cereal; 30g of that really is stingy, and 40g is much more satisfying for not that many more calories, so that's where I've settled on that.

Of course, I've been here before, with Things Going Well for a couple of weeks and then just falling off at some point afterwards, usually with the flimsy justification of depression, tiredness, illness, frustration or any manner of other things. But right now I'm feeling pretty good about how things are going, and the possibility of being to maintain this over the longer term. So let's hope I can actually stick to that and see where things go from here.

I know I can do this. I've done it before. And it will make my life so much better if I can accomplish it again. So I will keep at it.

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#oneaday Day 600: My CD shelf

Every so often — and a lot more frequently just recently — I find myself thinking back to the collection of music CDs that I once had, and ponder whether or not I should attempt to rebuild that collection. After all, with streaming services generally agreed to be a net shitter for the music industry — and several of them starting to bring in AI slop, because I don't fucking know — it is becoming fashionable, once again, to have a physical collection of Stuff.

Now, you know me. I know this. I have a living room whose walls are at least 85% video games. But I got rid of my whole CD collection when we moved into this place, because… well, there wasn't really room for it anywhere, and at that point, the digital future of music seemed pretty certain. Also the few quid I got for the collection by sending it to musicMagpie certainly helped.

One of the things I find myself getting hung up on is exactly what was in that CD collection. It has literally just occurred to me that I can probably just look at my musicMagpie account and see what I traded in 11 years ago, but that's much too easy. (EDIT: also, apparently I did not create an account when I traded all this shit in.) So I'm going to attempt to do it from memory, with explanations where necessary.

In no particular order other than as they come to me:

Definitely Maybe (Oasis) – the first album I ever bought with my own money, after I learned about what modern music it was "cool" to like. Embarrassingly, I bought it literally the day before (What's the Story) Morning Glory? came out, which got me some ribbing, but not that much, because Definitely Maybe was still a decent album.
(What's the Story) Morning Glory? (Oasis) – I actually don't think I bought this for myself, because I had it on cassette, not CD. I often considered buying it on CD but never quite got around to it because I always thought my money was probably better spent on something I didn't already have. I quite liked the tape version. It was easy to play in the car.
Be Here Now (Oasis) – People seem to hate this one now. I thought it was good.
Jagged Little Pill (Alanis Morissette) – I'm actually not sure why I bought this, because I had heard its greatest hits so many times on the local radio station the school bus always had on, and was thoroughly sick of them. But for some reason I did buy it — and I'm glad I did, because I ended up liking pretty much all the songs on it, particularly after reading along with the lyrics while listening. Fun fact: I'm pretty sure this album taught everyone in my friendship group and surrounding acquaintances what the term "going down on" meant.
Blurring the Edges (Meredith Brooks) – After accepting that yes, I actually did quite like Alanis Morissette, I sought out some other "girls with guitars" albums. I became rather fond of this one. Not every track is a winner, but there are some great songs on here, with Bitch probably the most well-known of them.
Left of the Middle (Natalie Imbruglia) – Not quite "girls with guitars", but sort of adjacent. I wasn't really thinking about that, though. I primarily bought this because several of us really fancied Natalie Imbruglia.
Footprints (Holly Valance) – See above, with even more tenuous justification.
Spice (The Spice Girls) – I have told this story before.
Spiceworld (The Spice Girls) – I'm not sure that justifies this, though.
Travelling Without Moving (Jamiroquai) – My best friends at school were super into Jamiroquai. It didn't take long for me to join them, subsequently adding Emergency on Planet Earth and Return of the Space Cowboy to my collection also.
Essential Indie (Various) – A CD that came free with my Discman when I got one for Christmas or a birthday or something. My favourite track on it was Sick & Tired by The Cardigans, primarily for its unusual flute and bassoon backing.
Essential Acid Jazz (Various) – A double CD that I picked up not long after getting into Jamiroquai. This was a varied selection of acid jazz weirdness, with only really one track by the Brand New Heavies being familiar. My friends and I all enjoyed this album a lot though, and a copy hastily recorded to tape was a fixture in my mum's car (which I often borrowed of an evening) throughout most of my time at sixth form. Favourite track was, without a doubt, Big Kahuna by Jeremy Bun, a track which my friends and I parodied in our brief incarnation as the sonicfunkstars shortly after we learned to use Sony's ACID Music. (Fun fact: my Xbox Live Gamertag is still sonicfunkstars, because I am not paying Microsoft money to change my fucking name.)
The Lord of the Rings (Unknown) – The Peter Jackson Lord of the Rings movies came out while I was at university, and we all enjoyed them. I bought this album because it had a cool box with a nearly naked lady on it and it said The Lord of the Rings on it. I didn't mistake it for the official soundtrack or anything (which I also bought) — if I'm honest I primarily bought it because of the titty lady. When I got it home and opened it up I discovered that titty lady actually got them out in the sleeve notes. When I put the CD in the player, I discovered that the whole album was literally just noise. I have no idea what it was supposed to be or why. I was so ashamed of the purchase I actually threw it out. To date I haven't been able to rediscover exactly what this fucking weird CD was — as I'm sure you can imagine, tracking down something just called The Lord of the Rings is not easy — nor am I sure I want to, because I think it might have been haunted.
Painkiller (Judas Priest) – My friend Owen, who I did teacher training with, introduced me to metal. A particular favourite of us both was this excellent album. On one memorable afternoon, in a chemically induced haze, we produced a spectacular Judas Priest remix using ACID Music. It helped distract from the horrors of the working day.

There's a bunch of compilations also — including Shine 7 and 8, which I talked about here — but those are most of the ones I can remember without taxing my memory too hard. I know there were a lot more than that. And now I really want to know what happened to that receipt for all the CDs I traded in 11 years ago. It must be somewhere!

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#oneaday Day 599: Earth Must Die!

I've been looking forward to a game that released today: Earth Must Die! by Size Five Games, creators of Ben There, Dan That, Lair of the Clockwork God and numerous other excellent games. Today isn't a "review" as such — I'll save some more substantial thoughts on the game for MoeGamer and YouTube once I've finished it — but I did want to pop down some initial thoughts and give a hearty recommend to it. As an indie title, the first few days of sales are critical for visibility on Steam, and this is a game that absolutely deserves to see some success from what I've played so far.

Earth Must Die! casts you in the role of VValak Lizardtongue, third in line to the throne of the planet Tyryth and its empire, the Ascendancy. After tricking his two brothers into murdering one another, VValak ends up in charge, and inadvertently causes the Terranoid forces of Earth to invade. That's as far as I've got, but as the name suggests, one can expect that the remainder of the game will involve VValak finding a way to get revenge on the Terranoids and get his empire back. Or maybe not…?

It's an adventure game, but with a few interesting twists from the usual formula. You have direct control of your character's movement, and interacting with hotspots is done using a cursor that can be popped up. It's clearly designed to be played with a controller and works well like that, but can also be played with WSAD movement controls and a mouse cursor. I think I might have preferred a simple mouse-only interface for its non-controller implementation, but not enough to want to kick off about it or anything.

VValak, as an arrogant (wannabe) tyrant, refuses to touch anything himself because poor people might have touched it before him. Thus you have to solve all the situations in the game without VValak ever getting his own hands dirty. This sometimes involves using his companion robot and former nursemaid, Milky, to perform various actions, and sometimes involves convincing other characters in the scene that they should carry out your orders. It's an interesting mechanic that sidesteps the usual inventory puzzles.

Like I say, I'm not too far in the story as yet so I am hesitant to say too much more in that regard, but one thing I will highlight is the incredible voice cast, which includes numerous big names in British comedy such as Alex Horne, Tamsin Grieg, Matthew Holness, Alasdair Beckett-King, Don Warrington, Mike Wozniak and many more. Plus, of course, Ben Starr is in it, because Ben Starr is the Nolan North of the 2020s (complimentary). That cast might not mean much to anyone who isn't British, but you should know that this is a full-on celebrity cast of comedy royalty, and it's incredible to see them all coming together for a video game.

The net result is that the game sounds like a late-night Channel 4 comedy show (complimentary), and it has some really beautiful animated 2D art to go along with it. It's very much designed along the lines of games like Discworld II, with large, cartoonish sprites and plenty of close-up animations — and much of the humour will be familiar to those who enjoyed Terry Pratchett's work, too.

That's about all I want to say for now. It's an easy recommend if you enjoy silly games that will make you laugh, and is a seriously impressive project from Size Five in terms of scope. I'm looking forward to getting stuck in over the next few days, and, as I say, I will have a full report, likely on MoeGamer and YouTube, once I'm done with it!

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#oneaday Day 598: Poptimism

There's been a lot of grumbling over a new game called Highguard just recently. I don't really know what Highguard is, which is part of the problem — apparently it was initially shown off at The Game Awards last year, then just went pretty much radio silent until its… launch? Now? Something like that?

From what I can make out, Highguard is a live service multiplzzzzzzzzzzz — ah, so that's why I haven't really been following it. But that's not precisely what I want to talk about today. I, instead, want to talk about the discussions that have been happening over the last few days on the subject of coverage of Highguard.

It started with an op-ed over on IGN written by Senior Editor Simon Cardy, whose article Can We Stop Dunking on Highguard Before It's Even Out, Please? is fairly self-explanatory in terms of its core thesis. Cardy argues that it's annoying when a game is seemingly randomly picked as a whipping-boy and becomes the butt of jokes before anyone has actually gone hands-on with it and is thus in a position to comment on it from an informed, experienced perspective.

I get this. I kind-of-sort-of agree with it. It is annoying when there's something you're interested in, and all you can find in terms of coverage is How Bad Does This Game Look?! clickbait. And it is a bit daft for people to be pre-judging Highguard based on a single trailer and a remarkably quiet marketing department.

At the same time, as this piece by Autumn Wright argues, there's a strong argument to be made that the press covering a particular medium is under no obligation to remain what they describe as "poptimistic". It is not the press' job to go to bat for a particular game or company — especially not ahead of its release — and there are a lot of things about Highguard that do warrant discussion. Exactly why has its marketing been so non-existent? Does the world really need yet another live service multiplzzzzzzzzz? I'm so uninterested in the game as a whole I can't even think of a third possible question, but I'm sure there's something else that needs asking.

The problem, as ever, is in how different people see the role of the enthusiast press.

Some see it as an extension of marketing — and indeed, there are plenty of outlets that operate like this. There are plenty of outlets that have since gone under that operate like this, and there will be more in the future. It's a bit of an occupational hazard; by engaging with the standard news-preview-review cycle, you are part of a Marketing Plan, whether you want to be or not. And that's always been the norm for the games press, dating right back to magazines. It was never really questioned all that much until relatively recently; people wanted to know what was coming up, and they wanted to know if the thing they had thought looked cool for the last six months actually ended up being any good or not.

Others see it as fulfilling a critical role — critical in the sense of "administering criticism", not as in "really important", though the people who feel this way would probably argue that also. People who feel this way are interested in the stories behind the games and how games can fit into broader cultural commentary. They ask what particular games can tell us about society, and what the artistic meaning behind a work — both intended by the author and perceived by the audience — might be.

The challenge, of course, is access. The former group gets access to games because they tacitly agree to being part of the Marketing Plan. They get invited to press events to try out a new game; they get sent preview and review codes early; they agree to embargoes so the publisher of a game, not the press outlet, remains in control of the coverage. The latter group, meanwhile, tends to have to fend for itself to a certain degree. This gives them a lot more freedom in terms of what they cover and how, of course, but they can't rely on having access — whether that means "getting an early copy of a game" or "being able to pick the lead writer's brain without a PR person breathing down their neck".

I don't really know what the answer is, or even if there is a satisfactory one. I don't quite fall into either of the above categories with what I do over on MoeGamer, but then that's a site by an individual run as a passion project, not a commercial venture. As such, I have the freedom to pick and choose what I cover, and to exclusively concentrate on things that I, personally, feel have some worth and value — or, at the very least, are interesting enough to want to talk about. That means my site skews positive, which is anathema to some people, but I'm not there to do a PR company's bidding — nor am I there out of any obligation to criticise things just because they "need criticising". I simply choose to focus all my attention on games that I think are worthwhile, and that I think more people should check out.

I hate to sound like I'm "both sides-ing" the issue, but the reality is, there are valid points from all angles here. It is silly to pre-judge Highguard with little to no information — or perhaps it's more accurate to say it's silly to make assumptions about what Highguard will be with little to no information. At the same time, though, outlets have no obligation to hype up a new release — and especially, one would argue, when the marketing department doesn't appear to have been doing its job at all.

This is, I can guarantee, the only thing I am going to write about Highguard. Because the one thing I have managed to glean from the discussion over it is that I don't really give a shit about it. So I'll just say I hope it's as good/bad as you were anticipating, and leave it at that.

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#oneaday Day 597: The MiSTer as reference library

One of my favourite purchases in recent memory is the MiSTer Multisystem 2 from Heber, which is an all-in-one console designed around the open-source MiSTer framework. If you're unfamiliar, this is a specification for hardware-based emulation of classic computers and games consoles, using a technology called FPGA. The advantage of FPGA is that it produces much more accurate results than typical software emulation, and thus it is a good substitute for original hardware, particularly if you're going to go the whole hog and use analogue CRT displays.

I think the most valuable thing about the way I've set mine up is that it is now effectively an interactive reference library of video games from the Atari 2600 right up until the PS1, N64 and Saturn. I invested in a large amount of external storage early on precisely so I could load it up with absolutely everything I might ever want (and quite a lot of things I will probably never want) and thus never have to worry about tracking down ROMs and disc/disk images ever again. (Until I discover a New Favourite Console, of course. Which has been known to happen.)

This is a useful resource both for my own curiosity and for my day job. We're working on something thoroughly interesting in the latter regard right now — no, you won't get any hints here — and an important part of that is ensuring that the project is accurate to the original version. Having the MiSTer Multisystem 2 up and running right next to me in my study means that, at a moment's notice, I can flip it on, check something and capture video for my colleagues to compare to. This is a good thing.

Having a storage device full to bursting with ROMs and disc/disk images, of course, runs the risk of the dreaded "analysis paralysis". But at the same time, if someone says something like "oh, I used to really like Enduro Racer on the Master System", I can pull that up and check it out immediately, knowing that the experience I'm having is authentic to the original hardware, and all without having to swap around cables, power adapters and controllers.

I have a lot of original hardware, which I like owning. But pretty much all of it is now primarily on display on the shelves rather than being used directly — because with very few exceptions, the MiSTer Multisystem 2 works just as well as the "real thing", with little in the way of compromise. And some improvements in some cases; it's absolutely no contest between a modern 8bitdo controller and the dreadful original Sega Master System joypad.

The one thing that is a compromise is the tactile nature of using original computers. Different computers had their own different case designs and keyboards, and thus a distinctive feel to using them. I have the 8bitdo mechanical C64-style keyboard as a suitably "retro" input device for computers, and it's great — but it does mean I miss out on little things like the distinctive shape of the Atari ST's function keys or the unique keys on certain systems' keyboards. (And documentation on exactly what these unique keys are mapped to on a modern keyboard is remarkably lacking, it has to be said!)

You also, of course, miss the fun tactile aspect of working with physical media. There's still something undeniably lovely about putting a cartridge in a slot or loading up a disk and listening to the whirr-snark of a floppy drive, and it will be a sad day when no-one remembers doing that. But with original hardware — particularly floppy disks — becoming more unreliable and prices for second-hand copies of retro games going through the absolute roof, at this point attempting to collect games for old computers and consoles feels like a complete waste of money.

Meanwhile, I have not regretted a single pound I have spent on my MiSTer setup. And, with any luck, given the lack of moving mechanical parts in it, it will last for a good long while, too.

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